"Violinists blast holes in violin experiment"

Tomcy6,

"Larry, based on your experience doing A/B/A blind tests and no surprises, do you think that your expectations might have influenced what you heard?"

OK, I'm thick some times, so maybe I'm misunderstanding, if so forgive me.
By doing the test the way we did...A/B/A , and NOT knowing what A or B was...I can't imagine that I had ANY expectations.
I knew we had a control and a variable.
Let's say new preamp...A, might be an existing one in the store...B might be the new one, but I didn't have any idea which was which...so 'expectations' could not have been part of my thinking.

Emperically...how does A sound...importantly, after that evaluation, how does B compare? How is it better? Worse?

Larry

Larry,

My question asks if once you have zeroed in on what the differences between cable A and cable B are, can you identify those differences if you don't know whether you are listening to cable A or cable B?

I am not trying to attack you personaly. I have always been puzzled that audio reviewers can go on for pages about the "jaw dropping" differences between component X and component Y but if you ask them to listen blindly and determine whether they are listening to X or Y they give you all kinds of reasons why blind tests are flawed as they back out the door.

I am not an objectivist. I believe that many differences in components can't be measured yet. Jitter was not observed for years after cd was introduced for instance.

Also, I understand that long term listening in familiar surroundings is the way to determine which components one prefers. But I am puzzled as to why professional reviewers are so opposed to any form of blind testing and just wanted to get your experience with the process. I am not trying to start an argument about blind testing and I hope I don't.

I make custom endpins for cello and bass. Most musicians have trouble hearing a difference between pins, even when there is a 1 db difference in output between 2 pins under audition. This could be caused by their position under the ear and behind the instrument. When someone else plays their instrument and the original player is listening in the audience then that musican can hear the difference immediately.

Also if a violin is under the chin and has or has not a chin rest the instrument will mechanically react with the players skull and facial structure. We don't just listen thru our ears we use many parts of our body to make audible judgments. Tom

**** I think the new instruments have proven that, objectively, the Strads and Guaneris are worth millions more only because of their rarity, not because of their sound is millions better.****

Yes, it is amazing and fortuitous that one could get "close" to the sound of the best for a lot less money. But how does one put a price on the best? To a great artist, having the very best is a no-brainer and easily justifies the expense.

Excellent observations, Theaudiotweak. Thanks for sharing.